Portfoliogaetanoguerrera by Gaetano Guerrera

GAETANO GUERRERA | portfolio

Gaetano Guerrera date of birth: 12.01 .1988, Augusta (Siracusa), Italy email: gaetano.guerrera@gmail.com cell: + 39 3396796750 (Italy)

EDUCATION 2017 | Licensed architect, member of the ordine degli architetti di Siracusa 2008 - 2015 | Master ’s degree in Architecture (5 years) | Università degli studi di Firenze, Italy 2011 - 2012 | Erasmus Program | Universidade Lusofona de Humanidades e Tecnologias, Lisbon, Portugal 2007 - 2008 | Facoltà di Architettura di Siracusa, Italy

WORK EXPERIENCE September 2015 - September 2016 | ZAO/standardarchitecture Beijing,China www.standardarchitecture.cn September 2013 - Februar y 2014 | Antonio Jiménez Torrecillas Studio Granada, Spain www.antoniojimeneztorrecillas.com August 2011 - March 2012 | Aurora Bassano Architetto | Termoli, Italy www.aurorabassano.com

TEACHING 2017 | Teaching Assistant at Made Program “Rosario Gagliardi” Academy of Fine Arts in Siracusa.

SOFTWARE SKILLS Autocad 2d Rhinoceros SketchUp Cinema 4d V-Ray

LANGUAGE SKILLS Italian | Mother tongue English | Professional Spanish | Professional

PROJECTS With ZAO/standardarchitecture | Beijing, China www.standardarchitecture.cn HEBEI BOARDING SCHOOL, Hebei, China. Client: China Government. Project of a charity school | In Progress. CHA’ ER HUTONG 8, Beijing, China. Client: Confidential. Project of a children’s librar y including dancing room and a pavillon for exhibition | Realized. XIAO FENG SONG REN ART MUSEUM, Hangzhou, China. Client: Xiao Feng & Shong Ren. Project of a private art mueum | Completed. JIADING YOUTH CENTER, Jiading, China. China Government. | In Progress. NENGXIN OFFICE, Beijing, China. Client: Confidential. Project of adaptive reuse of office building | Standby.

With Antonio Jimenez Torrecillas Studio | Granada, Spain www.antoniojimeneztorrecillas.com ALCAZAR DE GENIL METRO STATION, Granada, Spain. Client: Spain Government. Project of a subway station included the remains of an arab basin. | Realized. ELEVETOR FOR CARLO V PALACE, Granada, Spain. Client: Spain Government. Project of an elevetor to connect the patio with the museum of arts | Realized. CARMEN CALLE LARGA SAN CRISTOBAL, Granada, Spain. Client: Confidential. Renovation of an historical arab basin including a small pavillon project | Standby.

With Aurora Bassano Architetto | Molise, Italy www.aurorabassano.com

Drawings and Renders about residential projects for the exhibition Second Home Expo in Jaarbeurs Utrecht, Netherlands www.secondhome.nl

INDIPENDENT PROJECTS RONCHI E VICOLI AD AUGUSTA, Augusta, (SR), Italy. Partner: SulidArte, cultural association. Project of istallations in the storic center | Realized.

INDIPENDENT COMPETITIONS 2017 | Fondazione Versiliana competition: A canopy for the space, “Incontri al Caffè” in Villa Versiliana, Italy 2017 | MIBACT competition: Redevelopment of Salinella Park of Marsala, Italy 3th PRICE 2012 | Ceramic Hyspalyt competition: Visitor Center of Sagunto, Spain 2012 | Riva 1920 competition: Venezia’s Briccole | The Bench 2011 | Kme competition: The New Airport of Firenze 2011 | Between Architecture and City: Redevelopment of Piazza Santa Maria Novella, Firenze. SELECTED PROJECT

Chaâ&#x20AC;&#x2122;er Hutong 8 Beijing | China ZAO/standardarchitecture

Cha’er Hutong (hutong of tea) is a quiet one among the busy Dashilar area within 1km distance from the city center Tiananmen Square. Cha’er Hutong 8 is a typical “Da-Za-Yuan”(big-messy-courtyard) once was occupied by over a dozen families. Over the past five decades, the families each built an added-on small kitchen in the courtyard. Instead of wiping the small added-on structures out, we try to renovate them, redesign them and re-use them. In doing so, we intend to recognize the added-on structures as an important historical layer. Symbiotic to the families who still live in the courtyard, a 9 sqm children’s library built out of concrete was inserted underneath the pitched roof of an existing building. In the meantime, under the big ash tree, one of the former kitchens was redesigned into a 6-sqm mini art space built out of brick. Outside of it, a trail of brick stairs leads up to the roof, where one may probe into the branches and foliage.

Aâ&#x20AC;&#x2122; 1. Model, 1:100

2. Ground Floor

7 22 8 4

2 8 18

3 17 3 9 5

23 5

interior

exterior

2 21 12

WALL SECTION DETAIL - DANCING CLASSROOM/MULTI-FUNCTION ROOM

1. Ink concrete 2. Gray brick 3.10mm steel panel 4. Solid wood(ashtree) 5. Plywood 6. 12mm sin 10. 20mm double layer plasterboard 11.Venice plaster 12. 20mm metal sheet 13. 30x30mm L stee 17. 60x120mm steel 18. 12x12mm metal handrail 19. 18mm solid wood(ashtree) floor 20. Concrete

1. Dancing Classroom

2. Section A-Aâ&#x20AC;&#x2122; | Dancing Room

13 23

2 3 6

11 4

9 2 interior

18 5 8 9 20 22

ngle layer tempered glass 7. Gray tile 8. 5mm Waterproof roll 9.Stud&insolation el 14. 40x40mm L steel 15. 50x50mm L steel 16. 40x80mm steel e foundation 21. Yellow sand 22. Soil 23. LED light

SECTION WALL DETAIL

1. Ink concrete 2. Gray brick 3.10mm steel panel 4. Solid wood(ashtree) 5. Plywood 6. 12mm single layer tempered glass 7. Gray tile 8. 5mm Waterproof roll 9.Stud&insolation 10. 20mm double layer plasterboard 11.Venice plaster 12. 20mm metal sheet 13. 30x30mm L steel 14. 40x40mm L steel 15. 50x50mm L steel 16. 40x80mm steel 17. 60x120mm steel 18. 12x12mm metal handrail 19. 18mm solid wood(ashtree) floor 20. Concrete foundation 21. Yellow sand 22. Soil 23. LED light

Xiao Feng Song Ren Art Museum Hangzhou | China ZAO/standardarchitecture

The museum for the work of the painter Xiao Feng is located a few kilometres to the south of the famous West Lake, at the foot of Daci Mountain in Hangzhou. The plan of the building is based on the idea of a central garden, with a strong sense of inwardness reflecting a character that is key to traditional Chinese intellectual gardens. The layout naturally follows the site boundary and forms a linear circulation route through the exhibition spaces. Alongside the winding gallery spaces on the outside edge, a series of projecting rectangular rooms face inwards to provide views of the garden and, in some cases, also views towards the mountains at the back. The roof of the building was designed to generate a sense of layering and movement in the landscape. The organic volume rises gradually at the front to form an entryway to the garden, where the main entrance of the building is hidden behind trees and bamboo groves. Thus the museum becomes a part of the landscape and enhances the feeling of being in nature.

1. Masterplan

TEMPORARY EXHIBITION

PERMANENT EXHIBITION

1. Concept

2. Model, 1:100

3. Sections

Boarding School Hebei province | China ZAO/standardarchitecture

Project | Boarding School Location | Hebei, China Type | Educational Year | 2015 Status | detail design phase Project leader architect The Hebei Boarding school, located in Hebei province, closed to Beijing was set up in 2015, to offer a primary education to 120 kids from disadvanteged backgrounds, grades 1-12. The idea of the project is to do an extension of the main building, in wich are located the classrooms on the ground floor and the dormitory on the first floor, adding different volumes like the new showers, toilets, multipurpose room and a meeting room. Additionally, a roof canopy above the masonry base of the volums, allows to create a link between the different parts and is accessible from the dormitory - providing a shelter from the sun and rain and a flexible space to eating and playing.

MULTIPURPOSE ROOM

SHOWERS BATHROOM

MEETING ROOM

CLASSROOMS AND DORMITORY

1 1. Model, 1:100

2. Ground Floor

3. Section A-Aâ&#x20AC;&#x2122; | Toilets

Aâ&#x20AC;&#x2122;

Pre-existing building

Alcazar de Genil Subway Station Granada | Spain Antonio Jimenez Torrecillas

During the excavations of the new subway station of Alcazar de Genil, located in Granada, Spain, was discovered the remains of the Almohad arab basin dating from the XIII century which housed a naumaquia, and the space was used to recreate naval battles at almost real size for the distraction of the Kings, with an interpretation and recreation of the time and its urban and agricultural context during the construction of the Alcรกzar Genil palace, which formed part of the watering system.

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1. Model, 1:100

2. Ground Floor

3. Section

ARAB BASIN

e n i l

The sequence of drilled columns made of concrete mix with the conglomeration of the Alhambra allows us to see the stratification of the ground and at the same time it gives a total sense of continuity between the ground and the building, the natural and the artificial, and evokes the image of a natural shelter, hollow, excavation. Natural light played a dominant role in the illumination of subterranean spaces. The architecture emphasized a connection to the sky, through skylights

4 4. Arab Basin

5. Platform View

Vuoto Sonoro Augusta | Italy Guerrera // Rispoli Architetti

The willing to convert a public space that has been privatized and used for commercial activities into a space that can host temporary events is the reason that has brought us to the creation of a theather scenery. The integrity of the status quo of the place and its inhabitants has been maintained by giving just a new image to the space. Its color, that reminds of the sicilian sunsets, inspires many people passing by that are pushed by their curiosity and can see throw an arch the pinnacle of a church symbol of the history and a contemporary scenery that vibes moved by the wind and invites people to look up and connect to the natural elements.

1. Site View | Before

2. Ground Floor

3. Site View | After

Fondazione Versiliana Competition A canopy for the space, “Incontri al Caffè” in Villa Versiliana

The purpose of the work has been that of giving importance to the natural elements that characterize the area and to protect at the same time the surrounding trees. The trunks of the pines become natural pillars dropped by a veil that works as a shelter. All this greenery is enriched by the integration of a sculptural element, the missing pillar, that represents the emblem of the marble and the essence of archaic shapes. Above the structure there is a membrane that gives continuity to the space and that is interrupted only by pine trunks and light cones that cut the horizontal plane of the veil by signing a way.

1.2 Concept

3. Site View

A’

+ 7.50

+ 4.40

+ 0.00

5 4. Ground Floor

5. Section AA’

6. Site View

Reflections about the emptiness. Archeological Park and Center of Archeological study, Carmen de los Catalanes, Campus Alhambra, Granada. Alhambra | Granada, (Spain) MArch thesis

The idea of this project was born from the will to reinterpret the ancient concept of the space, trying to recreate the poetic effect made by the interaction between mass and light, the natural elements and the artificial ones, the giant scale and the human one. Carmen De los Catalanes represents a piece of the city fixed in time and that has maintained intact its naturalistic character becoming a bridge between the city, the wood and the Alhambra. The project consists of two parts: the exhibition area, where a basin has been set into the topography and the research centre , inserted in a depression of the ground caused by archeological excavations.Both buildings are the result of reflections about the concept of the emptiness. The first one has as its own basis the act of the excavations as a process of removing mass and volume. The second one is a “construction” of the spot, a basement that fills the emptiness between the external limit of the Carmen and a hill of red clay, which is the same clay that constitutes the Alhambra hill. In order to meet the requirements of the place where both the landscape and the geography must remain unchanged in spite of the construction, they are interpreted as substitutions, without elevation. Partially inserted into the spot and combined with the landscape far from operations of land architecture.

Planimetry

The entrance of the exhibition area goes through a hollow made by the fall of some silos during the archeological excavations that reinterpretes the character of the ruins. The eighteenth century painters used to focus their attention on the temporary potential of the ruins, considering them visible signs of the past. Ruins do not belong to only one historical age but they are the result of the multiple ages that have been existing and that have made and modified different layers, by giving them every time a new life.

1. 2. 3. Pre-existent ruin

4. Model, 1:100

5. Entrance sections, before and after

ENTRANCE

The void as an addition

LABORATORY

MUSEUM

The void as subtraction

1. Model, 1:100

LABORATORY |

Section Before and After

MUSEUM |

Section Before and After

1. Section A-Aâ&#x20AC;&#x2122; | Museum

2. Plan | Museum

Foyer | Museum

Through the cave you get to the atrium of the museum. Here the light comes from the skylight with a truncated conical shape on the outside, while on the inside with a parabolic shape. This game of lights reinterprets the spatial concept of the ruins. The space of the atrium mixes with the repetition of the columns in the exhibition area, that reminds of the Mosque in Cordoba. Inside the exhibition area, light filters as it does in Banuelo, through skylights truncated cones immersed in a tub of water. This represents the most important element in an Islamic garden and it is seen as a conceptual and geometric axis. In fact, sources, canals and basin are considered mechanisms to catch the sky and to annex it to the role of the architecture. In the hall, the sequence of drilled columns made of concrete mix with the conglomeration of the Alhambra. This allows us to see the stratification of the ground and at the same time it gives a total sense of continuity between the ground and the building, the natural and the artificial, and evokes the image of a natural shelter, hollow, excavation. 1

1. Plan | Museum

2. Section B-Bâ&#x20AC;&#x2122; | Museum

Hall | Museum

The theme of the conglomerate Alhambra appears again also in the other part of the building dedicated to the archeological laboratory. It is visible trough the glass wall that represents a dialogue between archeological research and design of the landscape. The history and the sedimentation of its traces have become the main reason of the project and have given the right reason to start and create the project itself. If looking at the direction of the glass wall that is orientated towards the red clay, it is possible to see over the wall, while the opposite one obstructs the view. With the change of the time and climatic conditions, light reflects on the facade in different ways appearing diaphanous or opaque. The light coming from the south that filters on the opaque wall solves the problem of the lighting system in the interior of the laboratory, and it guarantees constant light without shades. Four big pillars, typical of the Kahnian tradition, frame the hill and at the same time support the cover, an horizontal line that contrasts with the vertical Fundacion Rodriguez Acosta. Its mass becomes interpretation of the horizon. 1

1. Plan | Laboratory

2. Section C-Câ&#x20AC;&#x2122; | Laboratory

Laboratory exterior

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